The hands and palms of my family members are landscapes, conveying a sense of secrecy, mimicry, abstraction, and obfuscation that is inherent to meaning making and subversion in creolization. Images of the past and present “often crisscross each other” defining the multiple natures of the Caribbean (Yolanda Wood Pujols), layering multiple meanings the lines of skin create life lines, bass lines, lines of a map, lines of mountains and rivers, lines of rhythm, and crossroads (between living and dead); creating maps which are coded and unreadable, subverting the purpose of surveying land to create territories, they containing the secrecy of past, present, and future of lineage and of land. By referencing the classification and rendering practices of Natural History the documentation of skin also mimic and mock ethnographic photography while subverting it’s purpose; our shared blood acts as rhizomes which connect us beyond the violence of hierarchal, monolithic separation and reduction.